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Genshin Impact miHoyo videogames paimon Musical analysis

Genshin Impact - main theme

genshin impact

Genshin Impact is an online open world RPG Game is developed by MiHoyo, where we will enter the world of Teyvat, and we will take the role of a brother or sister (eligible at the beginning of the game) who will enter a great adventure in search of their lost family member.

The music of the video game is composed by “Yu-Peng Chen” and recorded by the London Philharmonic Orchestra, music that mostly leaves a mark on the player as they manage to impact the essence of each game situation. The main theme of the game has a taste of entering a magical and mystical world, achieving it in the following way.

brother

The Work is in 3/4 time signature and uses the Lydian mode of G (G - A - B - C # - D - E - F # - G), This mode, which is brightest of all, will connect us with the fantastic , the grandiose and exotic of the world in which the story will unfold. It is worth mentioning here that the introduction of the work effectively installs the mode with only 2 chords:

| G | A / G | G | A / G |

After installing the tonality, the melody begins, which has the peculiarity of being adorned with double aprons which gives it a lot of expressiveness and personality. but it is worth mentioning that the author harmonically places certain elements to make the fighting sensation aurally rest and ending with various forms of cadences that have a suspensive sensation.

| G | A / G | G | A / G | G | A / G | C | % |

In this first part we see how he uses the C chord, which does not belong to the Lydian mode, but rather to the Ionian one of G. To give us a taste of plagal cadence when entering the next phrase. How successful to make this movement from the Lydian mode of G, since the progression G - C could be associated with a V - I in the key of C, but as we have seen the presence of C # before this change it discards this association of V - I. The Work continues as follows:

sisterandpaimon

| G | A / G | G | A / G | C | D | A | % |

In this second phrase we see that the C appears in the 4 bar followed by the D chord. This construction is practically a cadence borrowed from the Ionic of G (G - A - B - C - D - E - F # - G), since It is seen interpreted as an IV - V that would inevitably resolve to I (in this case the G chord), And here comes a genius of the composer since, if he placed the resolution chord “G” it would establish an Ionic closure, which would be complicated then restore the feeling Lidia. So the author decides not to harmonically close that phrase and places “A” as the next chord, which leaves the phrase open and in turn reconnects us with the Lydian, allowing us to start the next phrase with that modality.

| G | A / G | G | A / G | C | D | A | % |

| G | A / G | G | A / G | C | D | Esus | E |

The third sentence is similar to the second, however the Fourth sentence avoids the Ionic resolution again but this time addressing E, it sounds good since the progression tries to give us that sense of resolution to Em (VI degree of the Ionic tonality of G ). but to create expectation, replace that Em with Esus, which is a valid replacement in this key. But the other genius is that when he uses the “sus” chord to contain the appearance of the Em, he surprises the listener again with a change in quality and places the “E” chord once more to avoid that broken cadence (V - VI) that once again mistreats our magical way.

Mondstadtarea

To close this analysis, this work is a very active part of the Genshin impact soundtrack since we will hear it sketched in other works or arranged as would be the case of the song “Dream Aria” or “Twilight Serenity”

Successes

Social Media Author: Pablo Bobadilla Rider